Downunderwonder

The modern(ish) GB 212 had essentially Eminence Deltalite12 speakers in a decent sized box. I never heard one but it should get a bit louder before fartout than a little Trace 115 combo. Better is subjective.

If one were to build an imaginary 'perfect' electric instrument, let's imagine it thusly: Perfect suspension of the string end to end and tensioned all by supermagmets. Perfect pickups that capture every waft of the unencumbered strings. Then the wood and everything else would have no effect. But we wouldn't like the tone. Quid pro quo, the wood and everything else does things to the tone that we like. Quid pro quo, they added to the tone, by taking stuff away.

Hell no. First off, test the driver that you have in case somebody swapped in a 4 ohm one while nobody was looking. You put a multimeter across the tip and shaft of the lead that goes in the back of the amp. Should be around 6 ohm of resistance for an '8 ohm' driver. Assuming it's an 8 ohm you can only safely add a 8 ohm cab in the extension jack. Don't add a 4 ohm cab or you risk blowing up the amp. It's a case of 8+8 = 4 when working with impedance of daisy chained cabs.

NO soldering, screws only, or else you are setting it up to fail. Don't even think about tinning the wire!

It's purely semantics. Affects the tone. Effects the tone. Same same different. We call the 2nd knob on a P bass the Tone knob so all is lost.

This sounds identical to the back and forth I got into about daylight saving time with a chap who later copped to Asperger's. It doesn't matter if the tone is imparted by addition or subtraction.

While no doubt your typical vocalist is a gear hauling absentee, in my experience some of the females put the guitarist to absolute shame.

If I owned one of those from new I couldn't bring myself to sell it for pennies on the pound either. I would take the amp out per ^ but run my circular saw around the combo sleeve to give me a cab and 3/4 of a sleeve with the holes already in the right place. Then I would take the speakers out and run the saw around the circumference, finish off with regular saw = two x 5/6 of 210 cabs.

When The Darkness first hit the radio here I thought I was listening to some band from ages past I must have missed. Then there was that Aussie band who sounded like an AC/DC tribute wrote some new words.

We need a new term for the 50 to 60 year old stuff. Vintage Rock? Geezer Rock?

If they are anything like the rubber mats we get here you'll want to leave them outside in the sun for a couple of weeks before installing. They gas off godknowswhat and it congeals on the inside of your windows, can't be good for your lungs either.

Mine is near identical to that one. Cheap and cheerful. The design must have been knocked off by a dozen Chinese factories. It's not like I can to point to where it will break one day, I just know it will. I figure to only put half the rated load on it then it's worth it for the hideaway value.

I have something very similar but lighter duty. Mine has smaller wheels, not great on stairs unless the whole lot is tied up and around and light enough to yank up by the gear. The wheels on that one look on the small side for comfortable stair climbing also. Ideally the wheel needs to ride the lip of the stair tred rather than hit the riser and then bump over the lip. Short of that, a bigger wheel makes the bump less of a deal, especially if you have pneumatic tyres. I.e. non folding sack barrow. Auto parts stores carry all kinds here.

Bass cabs, especially the tweeterless variety, which are the only ones you really want to mic up live anyway, don't sound like PA cabs. If you want the FOH to sound like the bass cab then close micing is a very short route to success. They might have to trim some lows from the bass channel if they are doing silly things with the subs for kickdrum, but they would probably have to trim more from the DI.

The only reason is seated in the personality traits that make bassists easier to push over than guitarists. 1 more full range mic on stage isn't going to wreck a mix. 1 more flat response mic that the bassist has carefully selected in his budget isn't any trouble to sub for the DI box on stage. All you have to do is be organised to mic your cab before they get to you. When they say 'here's the bass DI' you say 'please have a listen to this'. If your rig tone is pleasing to the band mix on stage it will not be out of place in the room mix. It's on the sound crew to EQ the room with the FOH. It's your job to be quiet enough that it's possible.

Power amps pre introduction of all the fancy low voltage protection cutouts draw extra current until the fuse blows. Sometimes the fuse doesn't blow in time to prevent damage.

Because the guy calling himself a soundman may have conniptions.

When it's The Darkness in 2003 complete with leotard.

Limiting woolly low energy would be a High Pass Filter.

That's simply not true.

Try playing along with a guitarist doing his best ''Call Me Al'', never having played it before, only knowing the little hook in the interlude and no slap skills. The crowd went wild. I am a bass god. A pint or two may have been involved.

On TB you would have to call it your fine monocle or risk the ban hammer.

You should find all well if you put the effects after the instrument and then into the front of the amp.

The one in the OP link is male to male, a bit of an odd thing to sell for purpose when wall warts come with male plugs. A bog standard daisy splitter is always female to male. Makes one wonder what the heck is all cobbled together that it ever worked and now works as a splitter.

I am reminded of my co worker who said of our customers "If we gave them a free cup of tea they'd complain there was no biscuit''.